SUArt Galleries: August 15 through November 24, 2019
Not A Metric Matters
Not a Metric Matters features new and recent artwork from sixteen faculty members from the College of Visual and Performing Arts at Syracuse University. The exhibition highlights artists working in a wide variety of media including painting, photography, drawing, ceramics, art video and site-specific installations. Curated by DJ Hellerman, curator of art and programs at the Everson Museum of Art, this exhibition brings together the eclectic and powerful work of design, illustration, studio arts, and transmedia faculty.
Teaching Methods: The Legacy of Art and Design Faculty
Over the nearly 150 years since its founding, the program has evolved, reflecting different aesthetic sensibilities at different times in its history. One constant has been a talented group of faculty who strive to provide the best possible learning opportunities for undergraduate and graduate students. This exhibition presents a sampling of the work by select former faculty in the permanent collection.
Skeptical Gaze: How Photomontage Blurs the Lines of Reality
Skeptical Gaze: How Photomontage Blurs the Lines of Reality explores silver gelatin prints and newsprints which contain the photographic technique of photomontage. This display specifically connects contemporary ideas about skepticism towards visual imagery with traditional darkroom techniques as a way to encourage the audience to assess their trust and belief in what visual representations they are consuming. Comprised of artwork from the Syracuse University Art Collection, Special Collections Research Center, Light Work Collection, and Visual Studies Workshop, this exhibition highlights images that use both fine art photography and mass media produced photography as a vehicle to begin this conversation.
Boris Margo: The Cellocut and Use of Plastics
Boris Margo (1902-1995) was an American painter, sculptor and printmaker born in Volochisk, Ukraine. Accustomed to recycling various materials to create artworks, Margo is the inventor of the Cellocut process. The Cellocut process involves making a new varnish by dissolving sheets of celluloid in acetone to create a plastic printing plate. As this new technique is very pliable, it has tremendous possibilities. The material’s flexibility allows each plate to present its own physical approach, and one can modify the application of the technique so that it is sympathetic to their aim. The versatility of the Cellocut medium permits the artist considerable freedom in his use of color and forms. Perhaps, though, this very lack of limitations that also makes it a difficult medium to handle convincingly. This technique has proven to be challenging for many, resulting in only a few masters of the Cellocut. Outside of Boris Margo, his wife, Jan Gelb, also represented in Syracuse University Art Galleries collection, is one other artist who has worked with the Cellocut
IMPACT! The Photo League and Its Legacy
IMPACT! The Photo League and Its Legacy presents 25 black and white photographs by master photographers associated with league, a cooperative of both amateur and professional photographers founded in 1936. The intent of the League was twofold: instruction on the art of photography, and a mission to put cameras in the hands of honest photographers with an intention to photograph America. The advisers, teachers, and students shared a commitment to social realism, specifically with the aim to produce visual images of working-class life. From its beginning to its untimely closure in 1951, the league boasted almost 250 members, including Arthur Rothstein, Aaron Siskind, and Godfrey Frankel, as well as hosted a number of teachers, board of advisers, and special lecturers such as Ansel Adams, Berenice Abbott, Dorothea Lange, and Lewis Hine.
Palitz Gallery: October 23, 2019 - January 30, 2020
Kamikaze Curiosity: Louisa Chase Prints
Painter and printmaker Louisa Chase’73 (1951-2016) was engaged in a lifelong expedition to try and capture external images of an internal state. A productive and experimental printmaker, Chase worked with the who’s who of publishers and workshops; and was included in the foremost contemporary print exhibitions and publications of the period. The selected works illustrate the evolution of the Chase’s distinct visual vocabulary and adeptness in the medium, giving insight into the artist’s enduring exploration, as she described, as a ‘kamikaze curiosity.’